Podcasts about Rohmer

Pour accompagner le vrai retour du printemps mais aussi pour célébrer sa carte blanche à la Cinémathèque Française dans le cadre du programme “Parlons cinéma”, nous avons eu le bonheur de mener une discussion tambour dansant avec Patric Chiha.Cinéaste dont la cinéphilie est née dans les vieilles salles de cinéma de la capitale Autrichienne, il se remémore quelques découvertes adolescentes fondamentales (Paris is Burning, les films de Derek Jarman) et égraine avec nous ses obsessions de spectateurs et de cinéastes (ce qui est la même chose) : la fête, les costumes, l'attente, l'hybridation entre documentaire et fiction…Alors enfilez vos plus beaux costumes et laissez vous guider de la Sicile de Rossellini (Voyage en Italie) jusqu'aux confins de la Russie (D'est) avant de rentrer à la maison (Simone Barbès ou la vertu) Nous remercions notre invité Patric Chiha ainsi que Melanie Haoun et Xavier Jamet de la Cinémathèque mais aussi Elodie Imbeau et Pierre Senechal sans qui cet entretien n'aurait pu se faire. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 4'49 Un corps au cinéma : celui d'Ingrid Bergman dans Voyage en Italie (R. Rossellini, 1954) - 4'49 Des costumes au cinéma : les tenues dans Paris is Burning (J. Livingston, 1990) - 7'24 Un décor ou une lumière au cinéma : Edward II et Blue (Derek Jarman) - 12'44 II. LE CINEMA DANS TOUS SES ETATS - 18'51 Une film à voir la nuit : Sleep (Andy Warhol, 1963) Un film de transe : Passage à l'acte (Martin Arnold, 1993) Un film pour apprendre à attendre - Où est la maison de mon ami (A. Kiarostami, 1987) - 26'44 Un film pour rentrer à la maison - Simone Barbès ou la vertu (M-C Treilhou, 1980) - 30'26 CARTE BLANCHE - 35'36D'Est (Chantal Akerman, 1993) CINEMA & TRANSMISSION - 42'57 Un film pour penser l'amour et la solitude : France (B. Dumont, 2021) Un film pour penser l'hybridation documentaire-fiction : Tous les autres s'appellent Ali (R.W Fassbinder, 1974) - 48'09 REFUGELe rayon vert (E. Rohmer, 1986)Pink Flamingos (J. Waters, 1972) EXTRAITS Extrait de "Deep in Vogue (12'' Video Version)" interprété par Malcolm McLaren & The Bootzilla Orchestra, © 1989 Epic Records, tous droits réservés. Extrait audio tiré de "D'est" (1993), un film de Chantal Akerman. © Chantal Akerman Foundation. Tous droits réservés. CRÉDITSPatreons : un grand merci à Mahaut, Paul et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

Paris, 2019. An apartment in Belleville. Following a miscarriage and a breakdown, Anna, a psychoanalyst, finds herself unable to return to work. Instead, she obsesses over a kitchen renovation and befriends a new neighbor—a younger woman called Clémentine who has just moved into the building and is part of a radical feminist collective. Paris, 1972. The same apartment in Belleville. Florence and Henry are renovating their kitchen. She is finishing her degree in psychology, dropping into feminist activities, and devotedly attending the groundbreaking, infamous seminars held by the renowned analyst Jacques Lacan. She is hoping to conceive their first child, though Henry isn't sure he's ready for fatherhood. Two couples, fifty years apart, face the challenges of marriage, fidelity, and pregnancy. They inhabit this same small space in separate but similar times—times charged with political upheaval and intellectual controversy. A novel in the key of Éric Rohmer, Lauren Elkin's Scaffolding is about the way our homes collect and hold our memories and our stories, about the bonds we create and the difficulty of ever fully severing them, about the ways all the people we've loved live on in us. Lauren Elkin is also the author of Art Monsters and Flâneuse, a New York Times Books Review notable book and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. Her essays have appeared in The New York Times, Le Monde, Frieze, and The Times Literary Supplement, among others. A native New Yorker, Elkin lived in Paris for twenty years and now resides in London. Recommended Books Italo Calvino, Under the Jaguar Sun Garth Greenwell, Small Rain Catherine Lacey, Möbius Strip The novels of Elizabeth Bowen Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paris, 2019. An apartment in Belleville. Following a miscarriage and a breakdown, Anna, a psychoanalyst, finds herself unable to return to work. Instead, she obsesses over a kitchen renovation and befriends a new neighbor—a younger woman called Clémentine who has just moved into the building and is part of a radical feminist collective. Paris, 1972. The same apartment in Belleville. Florence and Henry are renovating their kitchen. She is finishing her degree in psychology, dropping into feminist activities, and devotedly attending the groundbreaking, infamous seminars held by the renowned analyst Jacques Lacan. She is hoping to conceive their first child, though Henry isn't sure he's ready for fatherhood. Two couples, fifty years apart, face the challenges of marriage, fidelity, and pregnancy. They inhabit this same small space in separate but similar times—times charged with political upheaval and intellectual controversy. A novel in the key of Éric Rohmer, Lauren Elkin's Scaffolding is about the way our homes collect and hold our memories and our stories, about the bonds we create and the difficulty of ever fully severing them, about the ways all the people we've loved live on in us. Lauren Elkin is also the author of Art Monsters and Flâneuse, a New York Times Books Review notable book and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. Her essays have appeared in The New York Times, Le Monde, Frieze, and The Times Literary Supplement, among others. A native New Yorker, Elkin lived in Paris for twenty years and now resides in London. Recommended Books Italo Calvino, Under the Jaguar Sun Garth Greenwell, Small Rain Catherine Lacey, Möbius Strip The novels of Elizabeth Bowen Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Paris, 2019. An apartment in Belleville. Following a miscarriage and a breakdown, Anna, a psychoanalyst, finds herself unable to return to work. Instead, she obsesses over a kitchen renovation and befriends a new neighbor—a younger woman called Clémentine who has just moved into the building and is part of a radical feminist collective. Paris, 1972. The same apartment in Belleville. Florence and Henry are renovating their kitchen. She is finishing her degree in psychology, dropping into feminist activities, and devotedly attending the groundbreaking, infamous seminars held by the renowned analyst Jacques Lacan. She is hoping to conceive their first child, though Henry isn't sure he's ready for fatherhood. Two couples, fifty years apart, face the challenges of marriage, fidelity, and pregnancy. They inhabit this same small space in separate but similar times—times charged with political upheaval and intellectual controversy. A novel in the key of Éric Rohmer, Lauren Elkin's Scaffolding is about the way our homes collect and hold our memories and our stories, about the bonds we create and the difficulty of ever fully severing them, about the ways all the people we've loved live on in us. Lauren Elkin is also the author of Art Monsters and Flâneuse, a New York Times Books Review notable book and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. Her essays have appeared in The New York Times, Le Monde, Frieze, and The Times Literary Supplement, among others. A native New Yorker, Elkin lived in Paris for twenty years and now resides in London. Recommended Books Italo Calvino, Under the Jaguar Sun Garth Greenwell, Small Rain Catherine Lacey, Möbius Strip The novels of Elizabeth Bowen Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

durée : 01:07:47 - Club Jazzafip - Figure incontournable du cinéma d'auteur chez Ruiz, Rohmer, Ozon, Desplechin… l'acteur, réalisateur à l'affiche de "Les Règles de l'art", partage avec nous ses coups de cœur musicaux, particulièrement issus de bandes-son.

durée : 00:51:56 - Les Nuits de France Culture - par : Mathilde Wagman - Eric Rohmer raconte la genèse de son film "Perceval le Gallois", au micro de Claude-Jean Philippe, dans l'émission "Le Cinéma des cinéastes" de février 1979. - réalisation : Virginie Mourthé - invités : Eric Rohmer Réalisateur français de cinéma; Caroline Champetier Directrice de la photographie; Pierre Donnadieu

La pel

Programa conducido por Darío Lavia y Chucho Fernández.Ilustraciones: Andy Warhol, Fred Banbery, Ansel Adams.Fotogramas: "Spellbound" (1942); "Vertigo" (1959); "North by Northwest" (1958); "Psycho" (1960); "Alfred Hitchcock Presents: Revenge" (1955); "The Trouble with Harry" (1955), todas de Alfred Hitchcock; "Hombre sin rostro" (1950) de Juan Bustillo Oro.Acto I: "Introducción" de Alfred Hitchcock (ghostwriting de Robert Arthur) por Pablo Martínez Burkett 0:02:50"La risa, remedio infalible" por Chucho Fernández 0:10:30Acto II: "¿Es bueno o es malo?" de Éric Rohmer & Claude Chabrol por Darío Lavia 0:12:29"La risa, remedio infalible" por Chucho Fernández 0:22:24Acto III: "El expreso de medianoche" de Alfred Noyes por Chucho Fernández 0:25:03 Fuentes de los textos: "Introduction", Alfred Hitchcock en "Alfred Hitchcock's Ghostly Gallery" (Random House, 1962)"Hitchcock", Éric Rohmer & Claude Chabrol (S. A. Editions Universitaires / Jean-Pierre Delarge Editeur, 1957)"Midnight Express", Alfred Noyes, en "This Week" (1935), recopilado por August Derleth en "Sleep No More: Twenty Masterpieces of Horror for the Connoisseur" (Farrar & Rinehart, 1944) y luego por Alfred Hitchcock en "Bar the Doors: Terror Stories" (Dell, 1946)Oscuro Total (sitio oficial)https://www.instagram.com/oscurototalImdbhttps://www.imdb.com/title/tt35741521/Web de Cineficción⁠http://www.cinefania.com/cineficcion⁠/Fan Page de Cineficción⁠https://www.facebook.com/revista.cineficcion/

"Les métiers du costume touchent au vêtement, à l'intimité, mais aussi beaucoup au prendre soin de l'autre. C'est un métier du care, et c'est pour cela que ces professions sont très féminines et que l'on se dit qu'elles sont suffisamment payées."Aure Lebreton est conférencière à la Cinémathèque Française, doctorante, et présidente de CinéFil, Association d'étude et valorisation du costume de cinéma et d'audiovisuel : vêtements, maquillage, coiffures, accessoires.C'est une cinéphile, passionnée de costumes et experte de ceux qui traversent les films d'Eric Rohmer et Alain Resnais.Dans cet épisode, elle décrypte les costumes des films de Rohmer (3:19) et de Resnais (23:44), puis nous parle de l'association Cin&Fil, qu'elle a co-fondée et préside. Aure nous partage ensuite ses costumes préférés (44:42) et ses projets (48:00). Retrouvez Profession : costumière sur Instagram  Un podcast signé Céleste Durante Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:54:52 - Les Nuits de France Culture - par : Philippe Garbit - Pierre Girard et Richard Rein nous font découvrir Eric Rohmer - réalisation : Virginie Mourthé

It's a birthday request! (annoying air horn sound) We're tackling the perennial Rifftrax/MST3k favorite The Million Eyes of Sumuru.Host segments: apologies to Frankie Valli; two fingers of brown; MiMi's fingers got a workout; Jeff's new life goals; Sumuru review; Annette's new gig.

L'histoire du jazz et l'histoire du cinéma se rencontrent. Paris et le jazz, c'est une histoire d'amour, incarnée magistralement par Jeanne Moreau et la musique de Miles Davis dans Ascenseur pour l'échafaud, de Louis Malle, en 1958. Le jazz américain trouve aussi une place de choix dans Rendez-vous en juillet, de Jacques Becker en 1949, ou dans Eva, de Joseph Losey, sur la musique de Billie Holliday, en 1962. La rencontre entre la nouvelle vague et le jazz n'est en revanche pas toujours évidente. Truffaut, Godard, Rohmer, Chabrol ne sont pas très connaisseurs ni amateurs de ce genre musical. Pourtant, la nouvelle vague et son rapport à la liberté, au corps, à l'improvisation ont beaucoup à voir avec le jazz. L'enseignant-chercheur Gilles Mouëllic raconte cette histoire dans son livre Jazz et Cinéma, paru en 2000. Un entretien signé Charline Caron, de la Maison du Jazz de Liège, et une mise en ondes du Ciné-récit par Jean-Louis Dupont. Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Sujets traités : Dans l'affaire des coups de feu dans la boulangerie de Colmar, l'homme qui s'était rendu de lui-même au commissariat a été mis en examen hier pour tentative de meurtre avec préméditation. Âgé d'une trentaine d'année, il se serait battu avec un homme avant de sortir une arme et de le poursuivre jusqu'à l'intérieur de la boutique. L'arme n'a toujours pas été retrouvé.Quelques débats, mercredi soir lors du conseil communautaire du Ried de Marckolsheim. Après la présentation du rapport annuel 2023 du Smictom ou encore un avis autour des zones proposées par les communes pour de potentielles installations de production d'énergies renouvelables, les élus se sont penchés sur les finances de l'intercommunalité. Avec un excédent de trésorerie de plus de 3,8 millions d'euros, un remboursement anticipé a été voté à hauteur de 634 000 euros pour un prêt rattaché au budget annexe de la gendarmerie intercommunale. De quoi interroger Clément Rohmer, maire de Bootzheim, qui se demande si cette somme pourrait être utilisée à un autre escient, alors que des efforts avaient été demandés aux habitants au cours de l'année, notamment avec l'augmentation du taux d'imposition et des tarifs des périscolaires. Pour Frédéric Pfliegersdoerffer, président de la Communauté de communes du Ried de Marckolsheim, cet argent pourrait se montrer nécessaire dans le futur. Toujours côté finances, la Communauté de communes du Ried de Marckolsheim travaille actuellement sur l'élaboration d'une maquette budgétaire pour l'année 2025. Le tout dans un contexte encore incertain, alors que le budget de l'Etat suscite de nombreux débats au sein de l'Assemblée Nationale.Les commémorations des 80 ans de la Libération continuent en Alsace. Ce weekend, c'est du côté de Ribeauvillé qu'un hommage aux victimes de cette période historique sera rendu. Pour l'occasion, la ville des ménétriers a préparé un riche programme d'animations. Claire BRECHBUHLER, adjointe au maire en charge de l'évènementiel apporte des précisions. Vous pouvez retrouver un article complet sur notre site azur-fm.comA Haguenau, le bureau de poste de Marienthal voit ses portes se fermées définitivement aujourd'hui à 12h. Pour compenser cette fermeture, la poste ouvrira à compter de mardi prochain un point relais dans les locaux de la boutique du pèlerin de la basilique. On retrouvera dans ce dernier, la vente de timbre et affranchissement, dépôt de courriers et colis ainsi que la vente d'enveloppe et emballages prêt à envoyer.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In 2019, Anna, a psychoanalyst, is processing a recent miscarriage. Her husband, David, takes a job in London so she spends days obsessing over renovating the kitchen while befriending a younger woman called Clémentine who has moved into the building and is part of a radical feminist collective called les colleuses. Meanwhile, in 1972, Florence and Henry are redoing their kitchen. Florence is finishing her degree in psychology while hoping to get pregnant. But Henry isn't sure he's ready for fatherhood… Both sets of couples face the challenges of marriage, fidelity, and pregnancy. The characters and their ghosts bump into and weave around each other, not knowing that they once all inhabited the same space.A novel in the key of Éric Rohmer, Scaffolding is about the bonds we create with people, and the difficulty of ever fully severing them; about the ways that people we've known live on in us; and about the way that the homes we make hold communal memories of the people who've lived in them and the stories that have been told there.*Lauren Elkin is the author of several books, including Flâneuse: Women Walk the City, a Radio 4 Book of the Week, a New York Times Notable Book of 2017, and a finalist for the PEN/Diamonstein-Spielvogel award for the art of the essay. Her essays on art, literature, and culture have appeared in the London Review of Books, the New York Times, Granta, Harper's, Le Monde, Les Inrockuptibles, and Frieze, among others. She is also an award-winning translator, most recently of Simone de Beauvoir's previously unpublished novel The Inseparables. After twenty years in Paris, she now lives in London.Born in Philadelphia, Amanda Dennis studied modern languages at Princeton and Cambridge Universities before earning her PhD from the University of California, Berkeley and her MFA from the Iowa Writers' Workshop, where she was awarded a Whited Fellowship in creative writing. An avid traveler, she has lived in six countries, including Thailand, where she spent a year as a Princeton in Asia fellow. She has written about literature for the Los Angeles Review of Books and Guernica, and she is assistant professor of comparative literature and creative writing at the American University of Paris, where she is researching the influence of 20th-century French philosophy on the work of Samuel Beckett. Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Què seria el cinema francès si Truffaut, Godard ou Rohmer havien fet pel·lícules en una altre llengua que el francès, amb personatges parlant una llengua considerada com més universal? És la pregunta que posa el Victor Alexandre en un article d'El Món, però en un cas malauradament real: On és la llengua catalana, al cinema català? En parlem doncs amb Victor Alexandre, escriptor i periodista apassionat de cinema.

durée : 00:53:43 - Le grand atelier - par : Vincent Josse, Virginie ROUZIC - Il est de ceux qui portent le mieux, au cinéma, les variations amoureuses à la Rohmer. Ses documentaires à elle sont guidés par une curiosité profonde pour les personnes qui les habitent. Deux cinéastes sont réunis aujourd'hui : Emmanuel Mouret invite Claire Simon. - invités : Emmanuel Mouret, Claire Simon - Emmanuel Mouret : Réalisateur, scénariste, acteur, Claire Simon : Cinéaste - réalisé par : Lucie Lemarchand

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - réalisation : Virginie Mourthé

Pour accompagner le passage à l'heure d'hiver mais aussi pour célébrer sa carte blanche à la Cinémathèque Française, nous avons eu la joie d'accueillir Nine Antico. Elle fait des BD parfois inspirées par le cinéma, elle illustre parfois pour le cinéma (tout le coffret Rohmer de Potemkine c'est elle), et parfois elle fait des films aussi, tout simplement, comme le très rock Playlist avec Sarah Forestier, Laetitia Dosch et une très belle…playlist !Ensemble nous avons parlé de ses premiers émois cinéphiles à chercher du côté de chez Kazan (Un tramway nommé désir, La fièvre dans le sang), des films de son père (des comédies italiennes comme Le Fanfaron) et de quelques films generationnels délicieusement 90s : Buffalo 66 et le très chouette Génération 90 réalisé par Ben Stiller.Elle nous a raconté comment elle avait concocté sa programmation pour la cinémathèque.Ah et on a aussi parlé musique au cinéma ! Nous remercions notre invitée Nine Antico ainsi que Melanie Haoun et Xavier Jamet de la Cinémathèque mais aussi Elodie Imbeau et Pierre Senechal sans qui cet entretien n'aurait pu se faire. Inscrivez-vous à la newsletter en cliquant sur ce lien : https://forms.gle/HgDMoaPyLd6kxCS48 Pour nous soutenir, rendez-vous sur https://www.patreon.com/cinephilesdnt I. PORTRAIT - 3'06 Un duo au cinéma ? - Thelma & Louise (Ridley Scott, 1991) - 3'06 Une voiture au cinéma ? - La Lancia Aurelia B24 du Fanfaron (Dino Risi, 1962) - 6'36 Un hors-champ/quelque chose de caché au cinéma ? - La sœur, toujours enfermée dans la salle de bain, dans La main de dieu (P. Sorrentino, 2021) - 9'35 II. LE CINÉMA DANS TOUS SES ETATS - 11'38 Nine Antico sur sa carte blanche pour la Cinémathèque Française - 11'38 Des BO galvanisantes : la musique des films de Scorsese - 19'52 Une BD à adapter au cinéma : Love and Rockets (Los bros Hernandez) - 23'33 Le souvenir d'une scène de sexe gênante, drôle mais touchante : Greenberg (N. Baumbach, 2010) - 32'20 CARTE BLANCHE - 36'05La fièvre dans le sang (E. Kazan, 1961) III. CINEMA & TRANSMISSION - 44'34 Le rapport de Nine Antico aux objets de cinéma : VHS, photo, DVD… - 44'34 Les photos découpées des VHS dans la chambre d'ados de Nine Antico - 47'34 REFUGE - 48'37 Génération 90 (Ben Stiller, 1994) BONUS - 55'38La petite maison dans la prairie (1974-1983) EXTRAITS FILMS La fièvre dans le sang - Elia Kazan - Warner Bros Le Fanfaron - Dino Risi - Solaris Distribution Génération 90 - Ben Stiller EXTRAITS MUSICAUX Stayin alive - Bee Gees - RSO Records, actuellement sous licence Universal Music Group Don't let me be misunderstood - Santa Esmeralda - Columbia My Sharona - The Knack - Capitol Records CRÉDITSPatreons : un grand merci à Mahaut, Paul et Clara pour leur soutien !Musique : Gabriel RénierGraphisme : Lucie AlvadoCréation & Animation : Phane Montet & Clément Coucoureux

Ep. 277: Shonni Enelow on Acting: We're All Going to the World's Fair, Mid-to-Late Rohmer, The Beast Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm happy to welcome back scholar Shonni Enelow for another thoughtful chat about acting and performance, and how they reflect or respond to changing times. Enelow, a professor at Fordham University who just published a new book on Joanna Hogg, writes an acting column at Reverse Shot. We talk about realism in 21st-century acting and direct address through her first column's subject, We're All Going to the World's Fair, as well as I Saw the TV Glow, both directed by Jane Schoenbrun. Then we discuss the distinctive performances and styles of self-presentation in Bertrand Bonello's The Beast and two mid-to-late films of Eric Rohmer. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

It's about time, after 3 and a half years we got a brand spankin' new trailer. If you're new to Deep Cut, welcome! If you're a long-time fan, share this with your friends!  Deep Cut: A Film Podcast is a director-focused film podcast featuring deep-dive discussions about international, art-house, and independent cinema. Each episode we discuss either a director's most popular film or a "Deep Cut Pick": a personal favorite chosen by one of us: Wilson Lai, Benjamin Yap, and Eli Sands. We've covered movies from filmmakers like Hirokazu Kore-eda, Agnes Varda, Éric Rohmer, Kelly Reichardt, Wong Kar-wai, S.S. Rajamouli, Bong Joon-ho, and more! Looking for film recommendations off the beaten path? This is the pod to follow! Available wherever you get your podcasts! Find our FREE patreon, discord server, and all our socials @ http://www.deepcutpod.com

Felicia is joined by Nathan Cowles to discuss Michael Haneke's dark mystery about the roots of evil in The White Ribbon (2009). We chat about how Haneke tackles children and violence in his films and the concept of “good vs evil”. Along with the use of black and white and lack of score that help amplify the film's message. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode with Nathan: A Summer's Tale (Éric Rohmer 1996) Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://www.rogerebert.com/reviews/the-white-ribbon-2010 https://www.theguardian.com/film/2009/nov/12/the-white-ribbon-review https://www.austrianfilms.com/news/en/bodymichael_haneke_the_white_ribbon__interviewbody https://www.nytimes.com/2009/12/30/movies/30white.html https://brightlightsfilm.com/the-children-are-watching-you-michael-hanekes-the-white-ribbon/ https://thepointmag.com/criticism/white-ribbon/ OUTRO SONG: O Sacred Head Now Wounded - Fernando Ortega FILMS MENTIONED: A Tale of Summer (Éric Rohmer 1996) Code Unknown (Michael Haneke 2000) Caché (Michael Haneke 2005) Funny Games (Michael Haneke 1997) Amour (Michael Haneke 2012) Funny Games (Michael Haneke 2007) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Piano Teacher (Michael Haneke 2001) Benny's Video (Michael Haneke 1992) Martha (Rainer Werner Fassbinder 1974) Au hasard Balthazar (Robert Bresson 1966) White Light (Ingmar Bergman 1963) Fanny and Alexander (Ingmar Bergman 1982)

1972 bringt der französische Regisseur Éric Rohmer diesen besonderen Liebesfilm in die Kinos: DIE LIEBE AM NACHMITTAG zeigt ein eigentlich glücklich verheiratetes Paar, das sein zweites Kind erwartet. Der Mann aber gibt sich Tagträumen hin, mit denen eher der Ehe zu entrinnen sucht: Wie wäre es, wenn man zwei Leben und Lieben gleichzeitig führen könnte? Mehr dazu von Wolfgang M. Schmitt im Filmkompass!   Werbung: Unser Kinderbuch „Die kleinen Holzdiebe und das Rätsel des Juggernaut“ ist erschienen! Affiliate-Link: https://amzn.to/47h1LQI Die Anthologie SELBST SCHULD! ist jetzt erschienen. Affiliate-Link: https://amzn.to/47qau3a Sie können DIE FILMANALYSE finanziell unterstützen – vielen Dank! Wolfgang M. Schmitt Betreff: DIE FILMANALYSE IBAN: DE29 5745 0120 0130 7858 43 BIC: MALADE51NWD PayPal: http://www.paypal.me/filmanalyse Patreon: https://www.patreon.com/wolfgangmschmitt Wolfgang M. Schmitt auf Twitter: https://twitter.com/SchmittJunior Wolfgang M. Schmitt auf Facebook: https://www.facebook.com/wolfgangm.schmittjun/ Wolfgang M. Schmitt auf Instagram: https://www.instagram.com/wolfgangmschmitt/ Produziert von FatboyFilm: https://www.fatboyfilm.de/ https://www.facebook.com/fatboyfilm/ https://www.instagram.com/fatboyfilm/

durée : 00:42:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - A l'occasion de la rétrospective des films d'Eric Rohmer au Festival "Premiers plans" d'Angers en 1997, Michel Ciment recevait Charlotte Véry, Amanda Langlet et Rosette : souvenirs croisés de trois comédiennes qui racontent leurs rencontres et leur amitié avec le cinéaste. - réalisation : Virginie Mourthé - invités : Rosette Actrice de cinéma française; Amanda Langlet; Charlotte Véry Comédienne

durée : 00:54:59 - Les Nuits de France Culture - par : Mathilde Wagman - Dans ce numéro du "Cinéma des cinéastes" de 1984, Éric Rohmer est au micro de Claude-Jean Philippe pour parler de différents aspects de son film "Les nuits de la pleine lune". - réalisation : Virginie Mourthé - invités : Eric Rohmer Réalisateur français de cinéma

Join our Patreon for just 5$ a month and get access to our regular exclusive episodes, full archive, written content, discord server and more.. www.patreon.com/consensusunreality Merch http://consensus-unreality.printify.me/ The first in a new series of episodes on the dizzying feedback loop of east-meets-west in the occult tradition. We open in an unlikely place: Sax Rohmer and his hugely popular, though now mostly rejected Fu Manchu novels. Why did Kenneth Grant choose Rohmer's Dope, alongside Richard Marsh's beloved gothic-exotic horror classic The Beetle, as reference texts for his monumental book The Ninth Arch? Was Fu Manchu born on a ouija board? Why did CU favorite Eugenia Macer-Story use the metaphor of Fu Manchu vs. the "lonesome cowboy" in her genius examination of the UFO phenomenon? Did any of those Theosophists ever really visit Tibet? The tension between so-called eastern and western mystical traditions may be the driving force of what we call occultism, and in this episode we lay the groundwork for a series which will investigate this concept in detail. 

We're back this week with an exuberant 80s-centric mix by interior designer Travis Trew, who has returned to mmarz to serve up "a musical jello salad chock-full of tender bleepy-bloopies." Press play for an hour of eccentric, candy-coated new wave gems that feel like unearthed cult classics — or the soundtrack to a long-lost summer flick written by Éric Rohmer and directed by John Waters. Tracklist: mmarzmix.com/136

The first in a new series of episodes on the dizzying feedback loop of east-meets-west in the occult tradition. We open in an unlikely place: Sax Rohmer and his hugely popular, though now mostly rejected Fu Manchu novels. Why did Kenneth Grant choose Rohmer's Dope, alongside Richard Marsh's beloved gothic-exotic horror classic The Beetle, as reference texts for his monumental book The Ninth Arch? Was Fu Manchu born on a ouija board? Why did CU favorite Eugenia Macer-Story use the metaphor of Fu Manchu vs. the "lonesome cowboy" in her genius examination of the UFO phenomenon? Did any of those Theosophists ever really visit Tibet? The tension between so-called eastern and western mystical traditions may be the driving force of what we call occultism, and in this episode we lay the groundwork for a series which will investigate this concept in detail.  Join us on Patreon for this exclusive series, regular exclusive episodes, full archive, written content, printed journals and more.. https://www.patreon.com/consensusunreality

Éric Rohmer ends his famous "Tales of the Four Seasons" with "Autumn Tale". It's a French romance comedy about a woman who operates a vineyard, thinks about the idea of dating again and it focuses on the middle age folks, which is a bit different from the other season films. Magali's friends decide to take matters into their own hands and get matches for her. At this wedding party, it all goes down and it's an iconic scene itself. I love the film for it's rich and engaging screenplay and the actors who make these characters very real, especially when they conversate which is a huge strength that Rohmer. This film gives us insight to people who are older and wiser. We see a perspective that's almost too foreign for us especially if we dont match the same age. I can wacth this film all day and so should you.I give it four out of four tokes.#ericrohmer #filmreview #autumntale

durée : 00:44:59 - Les Nuits de France Culture - Projection privée - Eric Rohmer (1ère diffusion : 26/03/1995)

durée : 00:42:06 - Les Nuits de France Culture - par : Christine Goémé - Projection privée - Eric Rohmer (1ère diffusion : 26/03/1995) - réalisation : Virginie Mourthé

Xavier Guerrero is my guest for this episode reviewing the film "A Summer's Tale" of "A Tale of Smmer"--however you want to pronounce it--is a comedy film by Éric Rohmer. He is a beast in comedy, witty and impactful philosophical writing and direction that seems breathless to the eyes. In this film in particular, it's about a dude who comes with no dilemmas ending into evading a huge one that dealt with three women. Man, what a film. XG and I talk about suspenseful it gets with the different dynamics of each of the women and the intersection of them with the main character, Gaspard. We also talk about how easy and simple the film is in its cinematography and how the characters speak to each other- very natural with constant wit. It's a sparring battle and it's crazy how it carries the film's overall plot. It's just sets up only to get knocked down to the next part of story. It's a good film, great laugh and it's simple. Maybe too simple. it's films like these where you can really take and enjoy for what it is. We both agreed how it does take a while for the film to really get to the excitemenr of the second act. I was amazed as to how XG can get actually frustrated having captions in front of women, especially women in a French coast setting. Oh, X. But that right there tells you what a good job this film did with the casting and these actors owned their characters.Four out of Four TokesXGhttp://fullytoxic.com

“Im Leben geht's oft her wie in einem Film von Rohmer” wussten 1995 schon Tocotronic und nannten sein Werk direkt im Anschluss “fürchterliche Streifen”. Heute erregt er die Gemüter nicht mehr so. Sowieso scheint Éric Rohmer von all den schillernden Gestalten der Nouvelle Vague aktuell vielleicht nicht die größte Strahlkraft zu haben. Gerade deswegen hatten wir großen Spaß dabei, uns für dieses Special mit seinem Werk zu beschäftigen. Lucas und Christian sprechen mit Patrick Holzapfel (Jugend ohne Film, neuer Roman: Hermelin auf Bänken) über sein Werk. Das ist aber nur der Teaser! Wenn ihr die ganze dreistündige Folge hören wollt, dann unterstützt uns gerne finanziell auf steadyhq.com/cuts. Dann erhaltet ihr auch Zugriff auf alle anderen Special-Folgen der letzten vier Jahre.

It's bonus episode time. In today's Special Features episode Felicia is joined by Erin and Tom from the Baby's First Watchlist Podcast to discuss one of cinema's greatest romance films Before Sunrise (Richard Linklater 1995). We chat about how fresh this film feels nearly thirty years later, and although it is heavy in dialogue, the quiet moments reveal the most about Celine and Jesse. Send us your thoughts on the episode - what is your favourite film in the trilogy? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Baby's First Watchlist Here: Spotify: @babysfirstwatchlist Apple Podcasts: @babysfirstwatchlist YouTube: @babysfirstwatchlist IG: @babysfirstwatchlist Letterboxd: Tom @tc579 TikTok: @babysfirstwatchlist Sources: https://www.nytimes.com/2020/01/22/movies/before-sunrise-ethan-hawke-julie-delpy.html https://www.criterion.com/current/posts/4449-the-before-trilogy-and-the-art-of-collaboration https://www.criterion.com/current/posts/4445-the-before-trilogy-time-regained https://www.criterion.com/current/top-10-lists/531-marie-kreutzer-s-top-10 https://www.criterion.com/current/posts/4427-transitory-figures-one-scene-from-before-sunrise https://www.sensesofcinema.com/2018/stardust-memories/thinking-about-celine-and-jesse-travelling-through-time-with-the-before-trilogy/ OUTRO MUSIC: Come Here by Kath Bloom FILMS MENTIONED: Nightmare Before Christmas (Henry Selick 1993) Before Midnight (Richard Linklater 2013) Before Sunset (Richard Linklater 2004) Boyhood (Richard Linklater 2014) School of Rock (Richard Linklater 2003) Reality Bites (Ben stiller 1994) Dazed and Confused (Richard Linklater 1993) Everybody Wants Some!! (Richard Linklater 2016) Where'd You Go Bernadette (Richard Linklater 2019) Slacker (Richard Linklater 1990) Waking Life (Richard Linklater 2001) Harold and Maude (Hal Ashby 1971) Amour (Michael Haneke 2012) Boyfriends and Girlfriends (Éric Rohmer 1987) Scenes From a Marriage (Ingmar Bergman 1974) After Hours (Martin Scorsese 1985) Chungking Express (Wong Kar-wai 1996) Persona (Ingmar Bergman 1966) Lost in America (Albert Brooks 1985) Pauline at the Beach (Eric Rohmer 1983)

Felicia is joined by Calvin Kemph to discuss Catholic guilt and philosophy through the character's in My Night at Maud's (Éric Rohmer 1970). We chat about how important it is that this film was shot in black and white and how this story could also fit within his tale of four season series. This marks the end of the Rohmer series, one that I felt such a great delight in putting together and had some of the best conversations on the show so far. I hope you're inspired to tackle the rest of his filmography because I truly believe there is a Rohmer film out there for everybody. Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Calvin here: Website: https://thetwingeeks.com/ Spotify: @TheTwinGeeks Apple Podcasts: @TheTwinGeeks Seattle Film Critics Society: Seattle Film Critics Society - The official website of Seattle's movie critics. ÉRIC ROHMER'S SIX MORAL TALES – THE DIRECTOR AS AN AUTHOR IN THE FRENCH NEW WAVE: Éric Rohmer's Six Moral Tales – The Director as an Author in the French New Wave – The Twin Geeks Sources: https://www.criterion.com/current/posts/436-my-night-at-maud-s-chances-are https://www.sensesofcinema.com/2005/cteq/my_night_at_mauds/ https://www.sensesofcinema.com/2010/feature-articles/choice-and-chance-a-dialectic-of-morality-and-romance-in-eric-rohmers-my-night-at-mauds/ https://postmodernpelican.com/2020/02/22/my-night-at-mauds-1969/ OUTRO SONG: The Partisan by Leonard Cohen FILMS MENTIONED: The People's Joker (Vera Drew 2002) Claire's Knee (Éric Rohmer 1971) Claire's Camera (Hong Sang-soo 2017) A Fire (Christian Petzold 2023) Poetry (Lee Chang-dong 2010) Burning (Lee Chang-dong 2018) Secret Sunshine (Lee Chang-dong 2007) Conte d'hiver (Éric Rohmer 1992) Cléo from 5 to 7 (Agnès Varda 1962) Le bonheur (Agnès Varda 1965) Uncle Yanco (Agnès Varda 1967) The Green Ray (Éric Rohmer 1986) The Bitter Tears of Petra Von Kant (Rainer Werner Fassbinder 1972) The Tenant (Roman Polanski 1976) Winter Light (Ingmar Bergman 1963)

durée : 00:57:26 - Samedi fiction - Regard décalé et singulier sur l'œuvre d'Eric Rohmer, en faisant se croiser des dialogues de films joués par de jeunes étrangers, leurs réflexions sur le réalisateur et les motifs qui traversent ses films.

durée : 00:57:26 - Samedi fiction - Regard décalé et singulier sur l'œuvre d'Eric Rohmer, en faisant se croiser des dialogues de films joués par de jeunes étrangers, leurs réflexions sur le réalisateur et les motifs qui traversent ses films.

Felicia is joined by Duran Aziz to discuss Éric Rohmer's foray to the medieval era in Perceval (1978). We chat about the incredibly unique set design and Rohmer's desire to create a space that would be a reflection of paintings from that era. Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Duran Here: IG (Chapman University Students for Justice in Palestine): @sjpchapman Chapman University SJP divestment petition: https://www.change.org/p/demand-chapman-university-to-divest-from-the-military-industrial-complex-sjp-chapman?source_location=psf_petitions Sources: https://www.sensesofcinema.com/2017/cteq/perceval-le-gallois/#fnref-29831-2 https://decentfilms.com/reviews/perceval https://www.sensesofcinema.com/2010/feature-articles/the-tale-of-perceval-le-gallois-and-the-young-althusserians/ https://www.avclub.com/a-french-master-found-droll-comedy-in-one-of-the-earlie-1843630606 OUTRO SONG: Six Queens by Larrikin Love FILMS MENTIONED: Star Wars (George Lucas 1977) The Great Dictator (Charlie Chaplin 1940) My Night at Maud's (Éric Rohmer 1970) Pauline at the Beach (Éric Rohmer 1983) The Green Ray (Éric Rohmer 1986) Love in the Afternoon (Éric Rohmer 1972) Claire's Knee (Éric Rohmer 1970) The Aviator's Wife (Éric Rohmer 1981) The Marquise of O (Éric Rohmer 1976) Catherine de Heilbronn (Éric Rohmer 1980) Lancelot du lac (Robert Bresson 1974) A Tale of Winter (Éric Rohmer 1992) The Bakery Girl of Monceau (Éric Rohmer 1963) Suzanne's Career (Éric Rohmer 1963) Juliet of the Spirits (Federico Fellini 1965) Lars von Trier (Dogville 2003) Cabinet of Dr. Caligari (Robert Wiene, 1919)

durée : 00:54:59 - Les Nuits de France Culture - par : Philippe Garbit - Pourquoi le réalisateur Eric Rohmer a-t-il choisi de porter à l'écran la nouvelle d'Heinrich von Kleist, "La Marquise d'O" ? C'est ce qu'il raconte, en compagnie de son chef-opérateur Nestor Almendros, à Claude-Jean Philippe dans son émission "Le cinéma des cinéastes" en 1976. - invités : Eric Rohmer Réalisateur français de cinéma; Claude-Jean Philippe Auteur, réalisateur et producteur de télévision et de radio; Nestor Almendros Directeur de la photographie, chef-opérateur;

Felicia is joined by Frieda Beckerman to discuss Éric Rohmer's film about a woman facing vacation ennui, in The Green Ray (1986). We chat about how he created a character whose small problems we can all relate to, and why the multiple settings in France are imperative to the film's energy.. Send us your thoughts on the episode - have you read The Green Ray? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: https://www.theguardian.com/film/2015/jan/04/green-ray-rayon-vert-review-eric-rohmer https://classical-inquiries.chs.harvard.edu/about-the-green-ray-of-jules-verne-and-eric-rohmer/ https://tmff.net/an-analysis-of-the-green-ray-1986/ https://www.sensesofcinema.com/2010/feature-articles/following-the-law-of-ones-own-being-the-crying-woman-in-the-green-ray/ https://mubi.com/en/notebook/posts/close-up-on-eric-rohmers-the-green-ray-an-interview-with-marie-riviere OUTRO SONG: No Aloha - The Breeders FILMS MENTIONED: Working Girl (Mike Nichols 1988) Autumn Tale (Éric Rohmer 1998) Pauline at the Beach (Éric Rohmer 1983) Borat (Larry Charles 2006) To The Ends of the Earth (Kiyoshi Kurosawa 2019) Summertime (David Lean 1955)

Felicia is joined by Nathan Cowles to discuss Éric Rohmer's first film in his A Tale of Four Season series, about a man being tossed around by three different women in A Summer's Tale (1996). We chat about Rohmer's way of writing women, his choice to work with a woman cinematographer and how that lends to a unique gaze behind the camera. Along with the importance of the script and the quiet moments that expose the protagonists inner truth. This is the Rohmer series opener and I'm beyond excited to share this series with you - we've got four great guests to cover a wide range of Rohmer's work this month - I hope you follow along! Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://agoodmovietowatch.com/a-summers-tale-1996/ https://variety.com/1996/film/reviews/a-summer-s-tale-1200445995/#! https://mubi.com/en/notebook/posts/dangling-man-close-up-on-eric-rohmers-a-summers-tale https://www.criterion.com/films/29650-a-tale-of-summer https://cinemasentries.com/a-summers-tale-movie-review-dissecting-love-and-sex-with-philosophical-precision/ https://www.nytimes.com/2014/06/20/movies/a-summers-tale-from-eric-rohmers-seasons-cycle.html https://www.criterion.com/current/posts/8387-eric-rohmer-s-tales-of-the-four-seasons-another-year https://www.youtube.com/watch?v=hHoU9_3pmq4&t=128s&ab_channel=TIFFOriginals OUTRO SONG: Fille de corsaire by Sebastien Erms FILMS MENTIONED: A Clockwork Orange (Stanley Kubrick 1972) Eraserhead (David Lynch 1978) Inglorious Basterds (Quentin Tarantino 2009) Funny Games (Michael Haneke 1997) My Night at Maud's (Éric Rohmer 1970) The Green Ray (Éric Rohmer 1986) Suzanne's Career (Éric Rohmer 1963) Breathless (Jean-Luc Godard 1961) Call Me By Your Name (Luca Luca Guadagnino 2017) Aftersun (Charlotte Wells 2022) The Bakery Girl of Monceau (Éric Rohmer 1963) Claire's Knee (Éric Rohmer 1971) La belle noiseuse (Jacques Rivette 1991) The Fifth Seal (Zoltán Fábri 1976) Design For Living (Ernst Lubitsch 1933) Les amours imaginaires (Xavier Dolan 2010) Mommy (Xavier Dolan 2014) Tom at the Farm (Xavier Dolan 2015)

Author, critic, teacher, moralist, and editor of Cahiers du Cinema, Éric Rohmer is this month's featured director from the French New Wave. Alex and Jonathan look at three of the six films Rohmer directed based on a series of his own short stories called the "Moral Tales" – My Night at Maud's (1969), Claire's Knee (1970), and Love in the Afternoon (1972). We discuss Rohmer's literary approach to filmmaking, the ways he builds multi-dimensional characters through extensive dialogue, and his preference for the "invisible camera" as opposed to the self-aware methods of some of his fellow French New Wave directors. Skip to: (32:12) – My Night at Maud's (1:02:31) – Claire's Knee (1:18:51) – Love in the Afternoon (1:37:35) – Overall (1:57:44) – Coming Attractions Coming Attractions: Shoot the Piano Player (1960) Jules and Jim (1962) Day for Night (1973) For more information, visit the blog: https://thefilmlings.com/2024/03/01/rohmer Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

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Afire / The Green Ray / On the Beach at Night Alone / YouTube Dreamscapes

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit - Par Marc Voinchet - Avec Eric Rohmer (cinéaste) et les comédiennes : Marie Rivière et Béatrice Romand - Réalisation Clotilde Pivin

➜ La Newsletter de TheBoldWay : https://www.theboldway.fr/newsletter Plongez dans l'univers passionnant de Charles Gillibert, un producteur de films au parcours audacieux, à travers ce nouvel épisode inédit. De la création de sa propre société de production à 17 ans à sa collaboration avec le prestigieux MK2, Charles partage sa vision unique du cinéma et dévoile les secrets de la production cinématographique. En 2013, il marque un tournant en fondant la société de production CG Cinéma, qui a été derrière la production de nombreux films français à succès. Il a produit des films prestigieux tels que "Mustang" de Deniz Gamze Ergüven, qui a été nommé pour l'Oscar du meilleur film en langue étrangère, ou encore “Annette”, de Leos Carax qui a ouvert le Festival de Cannes en 2021 et a remporté de nombreux prix. En dévoilant comment il a joué un rôle clé dans le lancement de films acclamés et comment il a navigué dans le paysage cinématographique en constante évolution, Charles Gillibert offre un aperçu précieux de son métier de producteur. Que vous aspiriez à entrer dans le monde du cinéma ou que vous soyez simplement curieux des coulisses de la création cinématographique, cet épisode est fait pour vous. ➜ Retrouvez toutes les références et les photos prises lors de l'enregistrement sur www.theboldway.fr Ce que vous allez apprendre dans cet épisode : Le parcours professionnel de Charles Les origines et motivations de son parcours Ses débuts chez MK2 et ses apprentissages avec MK2 Productions La genèse de CG Cinéma Les difficultés rencontrées Comment produire un film et orchestrer le lancement L'histoire du lancement de "Mustang" et d”Annette” L'acquisition de Losange Productions L'histoire derrière "L'Entrepôt" Son rapport au succès Sa gestion de son temps et son rapport à la confiance en soi Ses conseils pour produire son premier film Qui il souhaiterait entendre dans ce podcast Références : Personnalités : Nathanaël Karmitz : Fils du fondateur du Mk2 et associé de Charles Fabrice Gobert : Réalisateur de Revenants qui a participé au Prix Kieslowski Jeff Mills : Pionnier de la musique techno qui a composé pour de nombreux films Nathalie Vallois : Galeriste à la Galerie Georges-Philippe & Nathalie Vallois, rue de Seine Olivier Assayas : Réalisateur de Sils Maria produit par CG Cinéma et L'heure d'été produit par MK2 Productions Leos Carax : Réalisateur français Xavier Dolan : Réalisateur québécois Elsa Keslassy : Rédactrice en chef de Variety Jean Eustache : Réalisateur français de la Nouvelle Vague Alexis Dantec : Producteur de films et directeur de Les Films du Losange avec Charles Gillibert Barbet Schroeder, Éric Rohmer : Fondateurs de Losange Production Stéphane Magnan : Associé de Charles pour l'Entrepôt Leïla Slimani : Journaliste et écrivaine qu'il souhaiterait entendre dans ce podcast Sociétés de production : Nada : Société de production fondée par Charles Gillibert et Nathanaël Karmitz CG Cinéma : Société de production fondée par Charles Gillibert MK2 : Société de production, de distribution et ventes internationales de films, et d'exploitation de salles de cinémas, fondée en 1974 par Marin Karmitz Les Films du Losange : Société de production française, créée par Barbet Schroeder, Éric Rohmer et Pierre Cottrell en 1962, puis rachetée par Alexis Dantec et Charles Gillibert Films : Mustang : Film de Deniz Gamze Ergüven produit par GC Cinéma Annette : Film de Leos Carax produit par GC Cinéma La maman et la putain : Film de Jean Eustache produit par Les Films du Losange L'heure d'été : Film de Olivier Assayas produit par MK2 Productions On the road : Film de Walter Salles produit par MK2 Productions Sils Maria : Film de Olivier Assayas produit par GC Cinéma Festivals et prix : Prix Kieslowski : Concour fondé par Charles Gillibert et Nathanaël Karmitz Festival de Cannes : Festival de cinéma international Les Césars : Récompenses cinématographiques françaises Festival international du film de Toronto : Festival de cinéma annuel non-compétitif qui se tient en septembre à Toronto Autre : Troublemakers : groupe de musique électronique français Entrepôt : Complexe de salles de cinéma français, abritant un restaurant, une salle de concert et une galerie d'exposition, situé à Paris 14e. Maison Chanel : Habilleur officiel des actrices du film Mustang au Festival de Cannes CNC : Centre national du cinéma et de l'image animée TheBoldWay ou The Bold Way, anciennement connu sous le nom de Entreprendre dans la mode ou EDLM, est un podcast produit et réalisé par Adrien Garcia.

Welcome Snobbies! to the last episode in the ChatGPT series where Artificial Intelligence picks our movies for us. The topic has been a lot of fun and we have seen some really cool films. Tonight we have Jared picking the film from the list ChatGPT gave him. The film that was chosen was from legendary director Éric Rohmer, “A Summer's Tale.” This film deal with ultra-realism, where the other film we did for this topic, 8 1/2, did surrealism. The film follows a man on his way through the French coast side and his many interactions with women where choices are made for him. We had different opinions about this film, but we all agreed that it was the best of the bunch.  Film Discussed: A Summer's Tale (1996) Letterboxd: Eric Peterson: ⁠letterboxd.com/EricLPeterson/⁠ Jared Klopfenstein: ⁠letterboxd.com/kidchimp/⁠ Ethan Jasso: ⁠letterboxd.com/e_unit7/⁠ Caleb Zehr: ⁠letterboxd.com/cjzehr/⁠ Ricky Wickham: ⁠letterboxd.com/octopuswizard/⁠ Cody Martin : ⁠letterboxd.com/codytmartin/⁠ Here is a COMPLETE LIST of every film that we have done an episode for. Enjoy! ⁠https://letterboxd.com/ericlpeterson/list/a-complete-list-of-every-the-film-snobs-episode/⁠ Five star reviews left on the pod get read out loud!

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Ce samedi, nous avons retenté l'expérience Arte avec un film d'Éric Rohmer. Conte de printemps, un film tout à fait de saison, sorti en 1990.  Le style assez peu naturel ou comme dit Micaela « sur une autre planète », avec un côté théâtral, a surpris Micaela et Lisa au début. Moi, j'étais ravie de revoir ce film. En plus, il a été filmé à une époque où l'on utilisait uniquement le téléphone filaire, à la maison.    www.onethinginafrenchday.com  

Kevin and Sarah spend this week contending with morality and the heavy questions of faith...which, to be honest, they do every week, but this time both movies they're reviewing are explicitly about religion. First up, they journey to the heart of Iceland in Hlynur Pálmason's new film Godland. For the Watchlist segment, Sarah and Kevin have a conversation about Éric Rohmer's My Night at Maud's. Sarah also delivers a special report on the state of the True/False film festival. Have thoughts about the movies we reviewed? Send us an email! Follow us on Twitter @SeeBelievePOD Follow us on Letterboxd Support the Seeing & Believing Patreon Learn more about your ad choices. Visit podcastchoices.com/adchoices

David is joined by Matthew Gasteier to talk about the final installment of Rohmer's film series Six Moral Tales.